STD!

A personal experimental exploration of the book of Psalms in the Holy Bible

A chronicle of the lives of a couple and the gradual dissolution of their relationship.

Impressions of a turbulent period in youth.

The desolation of vast retail spaces is not so far off from the decay of one's memories.

Alchimie au rhodium

An abstract short film that sheds light on the bad habits of the society in which we evolve, but in a dark satiric & cynical way.

An overly anxious man mysteriously finds himself unable to leave a bathroom.

What will happen if the world of 12th-grade students who prepare for University admission is changed to the way they never expected? This is the director's first experimental short film.

Produced using a VHS VCR and a digital camcorder, Vide-Uhhh! is an experimental piece, showcasing the VCR recording itself as Jesse England takes it apart, messes with key components and even attempts to break it.

This work is an attempt to overcome alienation amidst the fragmented construction reality of everyday narrative. Rethinking the meaning of reflections and shadows, framed subjects, body movements, screen, as well as sounds that are constructed by connecting the expression of their existence with the history of representation in modern art.

Profile, face, appearance, countenance...

A man sifts through his dreams, dilemmas, memories, secrets and the poetics of love as he harbours his greatest desire, to simply die.

In this vivid transposition of contemporary music for television, Cahen "responds" to the complex musical transitions of Répons, a work by French composer Pierre Boulez. Performed by the Ensemble InterContemporain and conducted by Boulez, the intricate Répons was designed for an ensemble of twenty-four musicians, six soloists and a "real-time" digital processor. In Cahen's re-composed interpretation, he responds with visual and temporal transformations, "opening" the images in space and time and applying electronic techniques to engulf the instrumentalists in ocean, sky, and trees. Mirage-like superimpositions, temporal shifts, mirroring effects and de-synchronization result in a rhythmic confluence of the illusory and the real. Immersing the viewer in image and sound, Cahen mirrors the transformative process of Boulez's music.

"In the final format for MAGELLAN, Frampton had planned to disassemble these two films into twenty-four 'encounters with death' that were to be shown in five-minute segments twice a month. In their present state, seen together and roughly the length of an average feature film, the two parts of MAGELLAN: AT THE GATES OF DEATH constitute perhaps the most gripping, monumental, and wrenching work ever executed on film...Frampton in 1971 began his filming of cedavers at the Gross Anatomy Lab at the University of Pittsburgh. He returned to the lab four times over the course of the next two years and then spent nine months assembling his 'forbidden imagery' into an extraordinary meditation upon death."–Bruce Jenkins

View from three different points of the same bus stop (point).

Culture is something that is formed on the basis of the economy and of the class struggle.

Three weeks to make three films. Filmed in my last semester before College. "Time", "One Night", "8x8".

Four friends leave Seattle for a weekend in a remote, rain-soaked corner of Washington State's rustic Skagit Valley. The foreboding October landscape begins to warp their minds, plunging each of them into alternate realities where they must grapple with personal demons, sexual tensions, and a sinister natural world as they claw their way back to sanity.

For the purpose of collection, preservation, and recording, numerous faces that existed in different times and places densely gather in a single space. Among them are photos of Koreans taken during the Japanese occupation era for physical measurements and Buddha statues with severed heads for reasons unknown.

Two screens. Fusion of two words, usually one losing the final part and the other losing the initial part.